San Francisco dramatic review (1899)

6 THE SAX FRANCISCO DRAMATIC REVIEW December 18, 1909 Ed Redmond Stock Company Jose Theatre San Jose, Cal. Rob Roy Gives a Comprehensive Idea of the Most Interesting Phases of New York Theatrical Activity NEW YORK, Dec. 12— Up to last week it had been a long time since anybody but the Rev. Thomas Dixon had tackled the negro question in a play. Three or four years ago, Dixon wrote The Clansman, and as it is still doing business out on the road, he is probably glad he did it. But with the exception of Uncle Tom's Clansman nobody else has seen fit to talk about the negro upon the stage for a long, long time. Last week, however, there was produced at the New Theatre a play called The Nigger, by Edward Sheldon. The Nigger goes after the race question with a vengeance, but the reflection induced by witnessing the first performance is that it is too 'big a question for young Mr. Sheldon. The subject is not a pleasant one, but the play contains some moving scenes. One such came with the arrival of the mob to lynch the cringing, whimpering negro criminal. Such another was the scene in which the old negro ••mammy" betrayed the secret she had hidden for so many, many years. Still another was the modified' form of assault when the Governor brutally embraced his horrified sweetheart. Individually, these scenes gripped the audience, and gripped it hard. Unfortunately, they were not well connected. There was no steady, remorseless advance from scene to scene. Several times Mr. Sheldon did not seem to know when he had reached a climax. His touch was hesitating, unsure. Moreover, he repeated himself frequently, said the same things time and again and dawdled with the obvious. In one respect the story of the play will not bear examination. It is inconceivable that any conventionally minded Southern girl could bring • herself to think of marrying a "nigger." Yet after seeing the heroine stricken with horror at the revelation of her lover's ancestry, seeing her writhing at the touch of the man suddenly become loathsome to her, we are asked to consider the spectacle of the same girl only a few hours later complaining because her lover does not greet her with a kiss and desiring to follow him to the ends of the earth. It is too much to ask. * * * The Lottery Man, which opened at the Bijou last Monday night, is a wide-awake farce, and for a larger part of its three acts is pretty certain to keep the average man or woman in good humor. Rida Johnson Young, who wrote it, has hit upon a fresh enough idea, the characters she outlines are genuinely funny, and the dialogue bright and snappy. Moreover, a capital little company gets the piece over the footlights with full effect in almost every scene and situation. Once in a great while the playing — or is it the play? — lies nearer burlesque than farce, and once in a great while more seriousness in the handling would produce more positive effects of humor. t But on the whole, the thing is interesting. In fact, The Lottery Man promises not to be a very long chance for either producers, playwrights or the actors. The Lottery Man is known by that particular title because he decides to raffle himself off as a husband at a dollar a throw to any woman who will buy a coupon in a newspaper scheme that means thousands of dollars as well as wedding bells for the winner. The young man is a fresh — avery fresh young "journalist," (no "newspaper man" would have a chance to get into such a scrape, ) and as he has borrowed $1,000 and sees no chance of paying it back he hits upon this plan for raising funds and — trouble. Of course, the minute the deal is on, the girl he would like to marry comes along. Then everybody who knows the pair gets busy buying Up coupons for the right girl in the case. When she hears of it — in fact, when she learns that the young man himself has bought some in her name, she is properly indignant. Cyril Scott has not appeared to better advantage for a considerable length of time. Once only, in the last act, he took a scene in a key suggesting burlesque when obvious sincerity might have been better for the situation, but on the whole he played with clean-cut directness, freshness, and variety. His acting almost always has virility and Indefinite sureness of touch, with the saving grace of a sense of humor manifested naturally and easily. Robert McKay, Mary Leslie Mayo, and Wallace Shape did the lesser parts nicely. * * * Massenet's admirable and thricecharming Manon, which was brought back into the repertoire of the Metropolitan Opera House last season after a lapse of some years, was again performed last week at that theatre. In many respects it is the best of the prolific French composer's works. In Paris it is the most popular, and there were evidences from the attitude of our audience that it is likely to attain popularity here also. For some reason the directors of the Metropolitan have seen fit to eliminate the Cour la Rcine scene in the version presented at this theatre. This leaves the subsequent scene at St. Sulpice totally unexplained. It also removes from the score one of the most charming musical numbers — that which follows Manon's entrance in a sedan chair and the ballet. The more or less celebrated "gavotte" has been transferred by this same process of rearrangement to the scene in the gambling house where it dpes not belong, and where it only serves to interrupt the dramatic action. I Iowever, Manon is much too pretty to be spoiled by a few omissions and rearrangements in its music. * * * Tosca was given again last week at the Manhattan Opera House, with the same cast as that which co-operated in the first production of the opera this season. Of these all except Mine. Carmen Melis were heard last season, and give an exceptionally good performance — Mr. Renaud and Mr. Zenatello especially in the leading men's parts, and Mr. (iilibert, who makes the subsidiary one of the sacristan a delightful character study. Mine. Melis is a striking and most attractive figure as the heroine, of dark Southern beauty and litheness. Her voice is powerful and penetrating. In passages of mezzo-forte it has its most pleasing quality, and then it is not without warm and expressive tones. She delivered some of the more melodic passages of Puccini's music effectively. Her personal appearance on the stage is a large factor in her favor in the impersonation of Tosca. Her acting shows skill and command of technical routine. She made a considerable impression on the audience, and was the recipient of much applause. Mr. de la Fuente conducted. * * * Is Matrimony a Failure? now in its fifth month at the Belasco Theatre, will continue at that playhouse until February i. Then Mr. Belasco will face the proposition of moving Leo Ditrichstein's merry comedy to some other New York theatre to make room for his production of Eugene Walter's new play. Just a Wife. Where Is Matrimony a Failure? will go has not been determined, but it must move from the Belasco owing to the terms of Mr. Belasco's contract with Mr. Walter, which guarantees a production of Walter's new play on some date before February 2. play on some date before Feb. 2. * * * Andreas Dippel, administrative manager of the Metropolitan Opera Company, and Charles Dalmores, the leading French tenor in the Manhattan Opera Company, were both on the witness stand in New York recently in the trial of the suit brought by the Conreid Metropolitan Opera Co. to recover $20,000 from M. Dalmores because he broke a contract signed with Conreid to sing at the Metropolitan this season. The case was called before Justice Bischoff and a jury, but because of the complicated questions involved the Court excused the jury. While Mr. Dippel was testifying, Mr. Dittenhoefer said : "I ask you not only as a manager to tell us what your opinion of the defendant's ability is, but as an artist. You yourself are a tenor. I believe." "Yes, I was a tenor once," said Mr. Dippel. "I sang tenor roles for twenty years. I consider Mr. Dalmores one of the greatest French tenors. He has a great repertoire. We had to engage four different tenors to sing his roles this year. There are a few other high-class tenors, but they are all under contract and we couldn't get them." Mr. Dittenhoefer asked D. M. Delmas if he desired Mr. Dippel to come to court that day for cross-examination, and the lawyer said: "I have no desire to have Herr Dippel return unless he will sing for us. If so, we will all be delighted." Justice Bischoff remarked that the Court would also be pleased if Mr. Dippel should return under such circumstances, and Mr. Dippel said he would be pleased. But Dippel didn't sing. * * * A meeting of the directors of the New Theatre was held